An in four acts by . ASB Theatre by Luigi Illica and Giuseppe Aotea Centre September 13, 15, 19, 21 Giacosa, based on Scènes at 7.30pm de la Vie de Bohème by September 23 at 2.30pm Henri Murger. La bohème premiered on 1 February Opera House 1896 at the Teatro Regio October 4, 6, 11 at 7.30pm in Turin. The performance October 9 at 6.30pm lasts approximately two October 13 at 5pm hours and twenty minutes, including a twenty minute interval. Sung in Italian with English surtitles. A Opera production.

Please Note: Information is correct at the time of printing. New Zealand Opera reserves the right to make alterations to the cast as required due to unavoidable circumstances. Use of cameras, mobile phones and recording devices is strictly prohibited. Latecomers will not be admitted until a suitable break in the performance.

1 2 welcome

In 1985/6 I found myself living in with very little to rub together. A student living in an apartment with wonderful prospects – centrally located in the Rue du Faubourg Montmartre opposite Le Palace nightclub – but lacking certain basics such as hot running water, heating, lighting and a bed.

The cash I had arrived with to see me through for a We are delighted this evening to present a new month I blew in one night in a gluttonous adventure production of the opera, marking Jacqueline Coats’ at Chez Flo. I didn’t mind. There was no to pay. mainstage directing debut for the Company and the I was able to blag 20 cigarettes a day in under return of Tobias Ringborg following his fine work on 30 minutes. I partied with countesses and terrorists. NZO’s in 2015. It is heartening to see a large And I fell in love. And it all fell apart. And I left. number of performers and creatives returning to work with us and that this is matched by the number of Not all bohemian adventures begin in Paris artists making their debut with the Company. but this one does. It is inspired by the real life adventures of Henri Murger who drafted a series The bohemian myth is both personal and a shared of magazine sketches about the bohemian lifestyle consciousness. Enjoy sharing this beautiful work in into a novel, Scenes de la Vie de Bohème (1851). the company of others. The Bohemian life took its toll on him, and he died - young. Puccini’s La bohème premiered in 1896, Nga mihi nui, and its setting shocked. A hundred years later, the work was adapted by Jonathan Larson into the Broadway musical, Rent. Both the opera and the Thomas de Mallet Burgess musical revolutionised their respective art forms. General Director, New Zealand Opera The enduring popularity of these works hint at our fascination with the subject matter and perhaps the secret desire we have to be free of boundaries.

3 4 5 La boheme: a place where beauty exists

“In my dreams and reveries I build There is a late-19th century influence to the costumes and look, consistent with the period in castles in the air,” the poet Rodolfo which Puccini wrote the piece, rather than the 1830s tells Mimì in Act I of Giacomo Puccini’s in which he set it. Accordingly, the silhouettes are La bohème. Director Jacqueline Coats turn-of-century and the staging was initially inspired by Paris in winter, the angles of the Eiffel Tower and knows the importance of that reflection. the sloped walls of Parisian garrets, but Rachael All of her productions start with what Walker says the effect is painterly and symbolic, she calls a “dreaming stage”. rather than naturalistic. The monochromatic environment contrasts with the principal singers, “That’s when you come up with all your crazy whose costumes inject colour. schemes,” she says. “Visually, we’ve created the world of the bohemians – The dreaming for this production of La bohème the poetic beauty of their imaginations – as opposed began more than a year ago, when Jacqueline and to the time of the bohemians,” Rachael explains. “It’s the creative team – set designer Rachael Walker, a place where beauty exists”. costume designer Elizabeth Whiting and lighting Jacqueline is well-known for her work on adventurous designer Jennifer Lal – were given a deceptively productions, such as the mini-opera The Eagle simple brief: be beautiful. Has Landed, by New Zealand composer Anthony Eye of the beholder stuff, of course, but what could Ritchie, staged recently in Wellington as part of the be more beautiful than love? CubaDupa festival. La bohème is a significantly bigger affair and while Jacqueline’s process remains “When you fall for someone, the way you essentially unchanged – dreaming stage and experience your surroundings changes,” says all – she’s aware of the opera’s fêted history and the Jacqueline. “I wanted to express the way the world responsibility that brings. is transformed when you’re in love.” “In some ways working with a well-known opera Also emerging from the dreaming stage was the is trickier; there’s a higher expectation because so idea of timelessness. Love is timeless, and so is many people know and love La bohème, which La bohème’s story, reasons Jacqueline, which is brings pressure. And you can’t escape seeing other why this production is not set in a particular era. directors’ imagery. However, I have to put that aside and always come back to the story, the characters “ I don’t want the audience to get too tied up in and the music.” period,” she says. “Instead of being distracted by whether we’re using a period candlestick, you get Ah, the music. One of the hallmarks of opera is that more engaged with the plot and the characters.” there are equal creative forces at play. Conductors

6 and directors often have similarly strong visions about what the music says and does.

“Yes,” says Jacqueline, “and I try to develop a strong working relationship with conductors. I’ve worked with some fabulous collaborative conductors who are interested in how characters are portrayed and can give a lot of support musically and through the text to enhance those characters. I’ve been the assistant director with Tobias Ringborg before and I know he is very interested in how things are portrayed on stage.”

Rachael’s designs are integral to that cohesion.

“The music has an emotion; you get a feeling,” she says. “Is it colourful, is it monochromatic, is it round, is it angular, is it happy or sad? Anything visual is matched to that to help the audience’s appreciation of the opera.”

Don’t expect an over-emphasis of the opera’s tragedy, though. As Jacqueline notes, there is as much happy as there is sad in La bohème.

“It’s easy to get sucked in to the sadness of the piece, that Mimì is sick and dying, but every time I go back to listen to the music, I’m reminded how humorous and joyous La bohème is – the joy of the bohemians, and of their friendship, and them making a life of art in Paris. That’s the power of the music. As a director it’s your best friend; it tells you everything you need to know.”

Richard Betts Award-winning Auckland writer

7 8 La Vie BohEme

Debussy is said to have remarked that no-one had represented the Paris of the 1830s as well as Puccini in La bohème.

This was high praise from a Frenchman at a time when musical nationalism was reaching a cultural fever pitch. Puccini was not the only Italian of his day to be drawn to Henri Murger’s 1851 novel Scènes de la Vie de Bohème: Merely a year after Puccini’s opera premiered in Turin, an alternative version ‘bohemian’ class of impoverished and marginalised of La bohème by Puccini’s compatriot Ruggero artists was born, at once beneficiaries of Paris’s Leoncavallo opened in Venice. There was something cultural flowering and victims of its social ills. about the bohemians of 1830s Paris that fascinated both Puccini and Leoncavallo, two leading Bohemians were so named because they lived proponents of verismo, or operatic realism. Indeed, in suburbs traditionally occupied by the Romani Murger’s coterie of starving artists was the ideal people, who were mistakenly believed to have subject for both composers in their pursuit of a originated from Bohemia. One such neighbourhood, grittier, more true-to-life operatic style. the Latin Quarter on Paris’s Left Bank – where La bohème’s second act is set – gained a reputation In many ways, personifies the best for its lively bohemian community. The Left Bank’s and the worst aspects of Parisian society in the cafés were central to Parisian bohemian life. Henri 1830s. Following the fiscal upheaval of the Murger himself routinely frequented the real-life Napoleonic wars, the restoration of the French Café Momus, which, with its notoriously low prices, monarchy in 1815 ushered in an era of relative became a regular bohemian haunt. Bohemians peace and economic stability. An emerging class were known for their anti-establishment beliefs and of bankers, industrialists and luxury retailers were unconventional behaviour, a trope that was heavily driving Paris’s financial and infrastructural growth: romanticised in nineteenth-century popular culture During this period, the city gained its first public (in La bohème, Puccini virtually glorifies the transport system, street lighting, department stores bohemians’ refusal to pay both their rent and their bill and public toilets. With this economic growth at Café Momus). This bohemian counter-culture fed came mass urban migration. Thousands moved into the revolutionary fervour of 1830s Paris where from the nearby provinces to find work in Paris’s streets were regularly barricaded by republican new factories and many foreign nationals fled to rioters. The bohemians of La bohème, who seem Paris, escaping conflicts across . Among to flourish artistically despite their destitution, provide these fresh immigrants were artists, musicians, a compelling portrait of this tumultuous lifestyle, poets and philosophers who were drawn to Paris’s where penury and sedition collide in a zeitgeist increasingly vibrant cultural milieu. However, the of creative exploration. urban population boom brought with it record levels of poverty, and Paris’s poorer suburbs gradually Callum Blackmore densified into worker slums. As a golden age of art and creativity bloomed alongside the horrors of France’s industrial revolution, a new so-called

9 10 Credits

Cast Production Team

Mimì Marlena Devoe Production Manager Robert Hunte Rodolfo Thomas Atkins * Company Manager Carla Parry Musetta Amelia Berry # Stage Manager Lucie Camp Marcello Nicholas Lester Deputy Stage Manager Youra Hwang Schaunard Julien Van Mellaerts Assistant Stage Manager Kirsty Chandler Colline Timothy Newton Chorus Assistant Stage Manager Benoît/Alcindoro Barry Mora Katie Querin (A), Ali Kirkpatrick (W) Parpignol Manase Latu ^ Head Mechanist Andrew Gibson Assistant Head Mechanist Jessy McNamara Creative Team Mechanists Patrick Minto (A), Tyler White (A) Head of Lighting Abby Clearwater Conductor Tobias Ringborg Head of Lighting Assistant and Lighting Director Jacqueline Coats Operator Alex Fisher Assistant Director Jesse Wikiriwhi Head of Wardrobe Sophie Ham Set Designer Rachael Walker Wardrobe Supervisor Sarah O’Brien Costume Designer Elizabeth Whiting Wardrobe Team Bridget Brian, Sonia Costin (W), Lighting Designer Jennifer Lal Alice Hayes, Mariliza Katsikopoulou (A), Leah Lovett-Maggs (W), Rose Miles-Watson, Sheridan Music Team Miller (A), Rosalind Sinel (A) Head of Wigs & Makeup Charlie Oswin Chorus Director (Auckland) John Rosser Wigs & Makeup Team Hayley Cairney, Karina Chorus Director (Wellington) Michael Vinten Jonassen (A), Amy McLennan (W), Freya de Raadt Principal Répétiteur David Kelly (A), Allie Rutherford (W), Stephanie Sharp (A), Chorus Répétiteur David Kelly (A), Abi Taylor, Natalie Young (W) Bruce Greenfield (W) Set Builders 2 Construct Ltd Language Coach Luca Manghi Props Master Grant Reynolds Surtitles Renee Vincent Surtitle Operators David Kelly (A), Jim & Christine Pearce (W) Directing Intern Nino Raphael Children’s Chaperone Tizane McEvoy (A), Natasha Thyne (W)

* Dame Foundation Fellow Special Thanks # Ryman DMMF Mina Foley Scholar Te Whaea: National Dance & Drama Centre, ^ Dame Malvina Major Emerging Artist Addis Cutting Services, Joshua Tucker, Joshua Wood, BounceNZ, Becs Ehlers, Ruby Read, Jenkins Service Ltd, Empire Electrical Services

11 Synopsis

Act I Act II

It is Christmas Eve in Paris. Rodolfo, a poet, and The market in which Café Momus is situated is the Marcello, a painter, are freezing in their attic bohemians’ favourite haunt, bustling with shoppers apartment. Colline, a philosopher, arrives as the and hawkers. Rodolfo buys his new love a red hat. fire Rodolfo has lit with one of his manuscripts At the café, Marcello’s old flame, Musetta, appears flickers and dies. with yet another new admirer, the elderly Alcindoro. To attract Marcello’s attention, Musetta bursts into her Schaunard brings reinforcements: food, wine and famous waltz song. Marcello responds and Musetta, wood for the fire, bought with unexpected money pretending that her shoe is hurting, dispatches from his earnings as a musician. A knock is heard at Alcindoro to a cobbler. She joins in the revelry with the door and Benoît, the landlord, arrives demanding Marcello and his friends. When they depart they the rent. The four bohemians ply him with wine leave a reminder for the hapless Alcindoro on his and then bundle him off. Marcello, Colline and return – the bill! Schaunard go off for a meal at the Café Momus.

Promising to join them soon, Rodolfo settles down to finish an article he is writing. There is another knock. This time it is a neighbour, Mimì, a beautiful young seamstress, holding her key and an unlit candle. She begs a light and Rodolfo obliges. Mimì starts to leave, but drops her key. Together they search it and their hands touch. They tell each other about themselves and Rodolfo passionately declares his love. The couple then set off into the night to join the others.

12 Act III Act IV

It is daybreak. Workers are crossing one of the city’s Time has passed. Rodolfo and Marcello are back borders to get to the markets, while the revels of the at their flat working. Both pairs of lovers have now night before are drawing to a close. Mimì emerges, parted. Mimì and Musetta have found wealthy looking for Marcello. Pale and agitated, she tells admirers. The two men feign indifference, but neither him of Rodolfo’s jealousy which has made their life can forget the memory of his love. Schaunard and together impossible. Mimì hides as Rodolfo suddenly Colline arrive with meagre food and the four sit appears. He declares her to be unfaithful, but then down to a mock banquet. While they are acting confides to Marcello that Mimì is very ill and blames the fool, Musetta rushes in with news that Mimì is himself and his poverty for being unable to help her. desperately ill and has asked to be brought back Mimì’s sudden coughing betrays her presence and to Rodolfo to die. The bohemians rally to the cause. the lovers sadly decide it is best that they part. Their Musetta pawns her earrings and Colline his beloved parting duet is interrupted by the sounds of a fierce coat to buy medicine for Mimì. Alone for a short quarrel between Marcello and Musetta. Mimì and time, Mimì and Rodolfo recall the past, reliving their Rodolfo decide to stay together until spring returns. short spell of happiness and their dreams together. Mimì, seized by a coughing fit, falls back exhausted. When the others return, she weakly thanks them for their kindness and falls asleep. It is Schaunard who first notices that Mimì is dead. Rodolfo is the last to realise, by seeing the truth on his friends’ faces.

13 Creative Team

Conductor Director Set Designer Tobias Ringborg Jacqueline Coats Rachael Walker

Tobias Ringborg is equally at home Jacqueline studied theatre performance Kindly supported by the Estate on the concert podium as a conductor, at the University of Idaho under the of Hilda Godley as a violinist, as well as in the opera Rebecca L Lynch Scholarship. She With a passion for theatrical set and house. He started his career as a gained a Master of Theatre Arts in prop design, Rachael has spent the past violinist in 1994 by winning the Directing from Victoria University of 18 years amassing over 100 projects prestigious Swedish Soloist Prize Wellington and Toi Whakaari: NZ as a professional designer in Auckland. and graduated the same with highest Drama School. She has collaborated with Auckland honours from the Royal College She has worked as a director, a restage Theatre Company, Silo Theatre, NZ of Music in . director and an assistant director for Dance Company, Court Theatre, He has recorded around 20 CDs. New Zealand Festival, New Zealand Tim Bray Productions, Auckland Arts In 2000, he embarked upon a Opera, Victorian Opera (), Festival, Comedy Festival, Unitec conducting career – specialising in Sirius Opera, Opera Hawkes Bay, School of Performing and Arts, opera, particularly Italian as well NIMBY Opera, Wanderlust Opera, Auckland Philharmonia Orchestra, as Mozart repertoire. He has had Opera Otago and CubaDupa, winning Canterbury Opera, The Actor’s engagements with most Scandinavian a number of awards along the way. Program and many independent opera companies, with a particular production companies. She has also Jacqueline has a passion for theatre strong tie with Royal Swedish Opera, been a resident designer and part-time and opera for young people. In as well as with Opera North, Scottish tutor at the Unitec School of Performing 2014, she directed ’s Opera, Oper Leipzig. and Screen Arts. Noye’s Fludde for NZO as part of At New Zealand Opera, he has the NZ International Arts Festival, She won Excellence at the Auckland previously conducted which involved over 100 primary Theatre Awards in 2017 for ATC’s and Tosca. Recent engagements include and secondary school students. She production of Nell Gwynn, 2016 for Le nozze di Figaro at Scottish Opera, has directed condensed versions of ATC/Court Theatre’s production of Giordano’s Fedora at Royal Swedish for NZO’s Opera in Schools That Bloody Woman and in 2014 for Opera and / programme since 2015. Silo Theatre’s production of Angels in at Opera North. Future plans America. Rachael was the 2008 URBIS Jacqueline’s theatre credits include include The Magic for Scottish Best Stage Designer. Lines from the Nile and Home, Martin Opera, and Madama Butterfly for State Sherman’s Bent; and co-directing This is Rachael’s Set Design debut Opera of South . In 2010 Much Ado About Nothing and The with New Zealand Opera having Tobias Ringborg was awarded the Taming of the Shrew for Wellington previously been Props Mistress on Herbert Blomstedt Prize by the Royal Summer Shakespeare. She will direct the New Zealand Opera and Swedish Academy of Music, and in Shakespeare’s The Two Gentlemen of Opera Queensland co-productions 2011 he was elected a member of Verona for Toi Whakaari: NZ Drama of La Cenerentola and The Flying that academy. School at the end of this year. Jacqui is Dutchman in 2013. the recipient of the Peter Lees-Jefferies Memorial Scholarship for 2018.

14 Costume Designer Lighting Designer Assistant Director Elizabeth Whiting Jennifer Lal Jesse Wikiriwhi

Kindly supported by the Estate Kindly supported by the Estate Proudly supported by Chapman Tripp of Hilda Godley of Hilda Godley After graduating from Unitec’s Elizabeth has designed costumes for As a Lighting Designer, Jennifer Performing and Screen Arts programme New Zealand Opera, Auckland Theatre has worked and toured extensively in 2004, Jesse has gone on to forge Company, Silo Theatre, Court Theatre, around New Zealand and with many a career in the arts industry through Mangere Art Centre, Nightsong independent productions internationally. performance, choreography, rehearsal Productions, Red Leap Theatre and She has collaborated with most of the direction to company administration. Okareka Dance, Black Grace, Douglas established theatre companies in this In 2007, Jesse joined dance company Wright Dance, Michael Parmenter, country including Auckland Theatre Footnote NZ as a full-time company Atamira, Shona McCullagh and the Company, Silo Theatre, Court Theatre, member. During his three years with the . She also Fortune Theatre, Taki Rua and with company, he performed in numerous designed costumes for Pop-Up Theatre numerous independent production national and international tours for Edinburgh Festival. companies at Wellington’s BATS, including Australia, Hong Kong and Circa and Downstage Theatres. Elizabeth designed the costumes for Europe. He has worked with some of The World of Wearable Art core show She regularly collaborates with Foster the country’s top choreographers such in Wellington for six years. Group Dance Art with such shows as Michael Parmenter, Raewyn Hill, as Colt and Orchids, which premiered Malia Johnston and Taiaroa Royal. In 2010 she won the Chapman Tripp at the Festival in 2017. She has Jesse’s choreography and performance Costume Design Award for The Arrival lit numerous Auckland Arts Festival and experience includes touring (Red Leap Theatre). She represented New Zealand Festival productions internationally with Vospertron in New Zealand at the Prague Design including Hui (2013). Qatar, Saudi Arabia and India as well Quadrennial in 2003 with her costumes as many commercial and corporate for , and again in 2007 with She is the multi recipient of the events throughout New Zealand. a team of designers who created the Chapman Tripp/Wellington Theatre exhibition Blow. Her designs for The Awards Lighting Designer of the Year He has worked in various roles in film Marriage of Figaro have just been seen Award with the shows Mapaki, Have and television, most notably playing in Seattle and her costume designs for Car Will Travel, Oho Ake, Hinepau, The Creeper in TV2’s recent prime Tosca had a great reception in Perth. The December Brother, Into The time production Cul De Sac. In 2016, Uncanny Valley and All Our Sons. Jesse became the Resident Barista on Elizabeth designed Uncle Vanya TV3’s daily morning show The Café. (Court Theatre), Nell Gwynn (ATC), This is her New Zealand Opera design Most recently he worked with Auckland Blonde Poison (Plumb Productions) debut, previously she has been Lighting Theatre Company’s production of last year. Hudson and Halls Live Designer for The Opera Studio’s Lucia Under the Mountain in February and and The Mooncake and the Kumara de Lammermoor and Festival Opera’s returns to work with New Zealand were successfully remounted using production of Madama Butterfly. Opera as Assistant Director, after her costume designs. Elizabeth has previous stints as Choreographer. Most recently she has returned from the designed Under the Mountain, and Edinburgh Festival where she toured The Cherry Orchard (ATC) this year. Tikapa Production’s critically acclaimed Not In Our Neighbourhood.

15 Cast

Rodolfo Mimì Marcello Thomas Atkins Marlena Devoe Nicholas Lester

Proudly supported by Proudly supported by Heartland Trust Nicholas Lester was a State Opera John and Margaret Hunn of South Australia Young Artist and Winner of the and Dame Malvina Major Foundation studied at the Adelaide Conservatorium Bel Canto Award, Fellow 2018 of Music and the National Opera New Zealand born Samoan Studio‚ London, sponsored by A recent graduate from the Jette Parker Marlena Devoe graduated from the Glyndebourne. Young Artist Programme at Royal Opera Wales International Academy of House, Covent Garden, New Zealand Voice with Distinction. She received Recent and future plans include Daddy Thomas Atkins is a graduate a Bachelor of Arts degree in Italian Bear: Goldilocks and the Three Little of the Guildhall School of Music & and German from the University Pigs (The Opera Story); title role: Drama and is kindly supported by the of Auckland, attended the Georg and Figaro: Il barbiere Foundation. He was a Solti Accademia di Bel Canto and di Siviglia (); 2013/14 Freemasons Dame Malvina the Mediterranean Opera School Guglielmo: Così fan tutte‚ Dandini: Major Emerging Artist with New and Festival in Sicily. La Cenerentola, Figaro: Il barbiere Zealand Opera. This season he makes di Siviglia (voted Best Male in a an anticipated debut as Lysander in A Operatic engagements include Leading Role by the audience) and Midsummer Night’s Dream at Opéra de debuts in the UK with Clonter Opera Frédéric: Lakmé (Opera Holland Park); Montpellier as well as returning to Royal (Violetta: La traviata) and Opera Marcello: La bohème, Valentin: Faust Opera House as Gastone in La traviata Project (Gilda: ) in 2016, Lyric (Dorset Opera Festival); Josef K in Philip and Glyndebourne Festival, where he Opera Productions Dublin (Mimì: Glass’s The Trial‚ Germano: La Scala was a Jerwood Artist in 2016. La bohème) and Singapore Lyric di Seta‚ Dr Malatesta: Don Pasquale Opera (Lauretta: Gianni Schicchi) At House Atkins’ and Ping: Turandot (Scottish Opera); in 2015, and the Verbier Festival roles include Roderigo: ; Pilade: Marcello: La bohème, (English National (Adina: L’elisir d’amore) in 2014. Oreste: Faninal’s Major Domo: Der Opera); Guglielmo: Così fan tutte Marlena is a recurring artist with Rosenkavalier; Poisson: Adriana (Danish National Opera); Escamillo: the Auckland Opera Studio and Lecouvreur; Enrique: The Exterminating (Mid Wales Opera); and has performed several roles with Angel; First Armed Man: Die Gianni Schicchi (Amsterdam). Zauberflöte; Don José: La Tragédie de the company, including Lucia: Lucia Carmen (Wilton’s Music Hall); Teacher: di Lammermoor (2014), Amina: Notable concerts include Mahler’s Lady Macbeth of Mtsensk; and 2nd (2011) and Servilia: Lieder eines fahrenden Gesellen for Brabant Noble: Lohengrin. (2010). Maurice Béjart’s ballet Song of a Wayfarer with ‚ Atkins was a finalist in the Guildhall Marlena is currently an Alvarez Young Brahms Requiem in Beijing‚ Vaughan School of Music & Drama ‘Gold Medal’ Artist with Garsington Opera and has Williams Five Mystical Songs with in 2015 and is the recipient of the recently performed the role of Alice in the City of Birmingham Guildhall School of Music & Drama their production of Falstaff. Orchestra‚ Fauré Requiem at award, the Sheila Prior Prize, the St Martin-in-the-Fields and Messiah Phoebe Patrick Award and the Vianden under Laurence Cummings. International Summer School Award, all from the 2012 IFAC Australian Singing Competition.

16 Musetta Schaunard Colline Amelia Berry Julien Van Mellaerts Timothy Newton

Ryman DMMF Mina Foley Scholar Proudly supported by Australian Timothy Newton John and Margaret Hunn grew up in Queensland and started Born in Wellington, Amelia Berry his operatic journey while working graduated with a first-class honours Winner of the Maureen Forrester as a lawyer in Melbourne. On a degree from the New Zealand School Prize and German Lied Award at the background of choral, piano and violin of Music. After spending three years 2018 Concours musical international studies, Timothy began as a scholarship at the prestigious Manhattan School de Montréal, Winner of the 2017 recipient from both the Melba Opera of Music, she received an AMP / Kohn Foundation Trust and the Lisa Gasteen National Scholarship in 2015 to assist pursuing International Song Competition and the Opera School. a career in New York. Amelia 2017 Kathleen Ferrier Awards, Julien Van Mellaerts was awarded the Tagore frequently performs with New Zealand Earlier roles included Dr Grenvil in Gold Medal on Graduation from Opera, most recently performing the La traviata with Opera New England, London’s Royal College of Music. role of Cunégonde in Candide. Her the Ambassador in Respighi’s other roles include: Frasquita: Carmen, With , he appeared The Sleeping Beauty, Alessio in Yum-Yum: The Mikado, Johanna: in Elizabeth at London’s Barbican La sonnambula with Victorian Sweeney Todd, First Lady: The Magic Hall, and other recent highlights have Opera, Sarastro in Flute, Clorinda: La Cenerentola, Zerlina: included recitals with Julius Drake for with the (NZO); soprano soloist: the Enniskillen International Beckett Victorian Schools Tour and Olin Blitch Anamchara: Songs of Friendship Festival and the Juan March Foundation, in Floyd’s Susannah with Opera (Scottish Opera); Knoxville: Summer Madrid, The Referee: Mozart vs New England. Having performed of 1915 (Victoria University Orchestra); Machine for Mahogany Opera Group, such works as Haydn’s Creation with Giulietta: I Capuleti e i Montecchi, Harlekin: Ariadne auf Naxos for the Royal Melbourne Philharmonic Jenny Reefer: The Mother of Us All, Longborough Festival Opera, the title Orchestra, Timothy also enjoys being Jenny: Aufstieg und fall der Stadt role in Eugene Onegin for Cambridge an established oratorio singer for local Mahagonny (Manhattan School of Philharmonic Society and Fauré and regional groups. Music); Corinna: The Journey to Rheims Requiem at London’s Royal Albert Hall. (Days Bay Opera); Annio: La clemenza Timothy was a 2017 recipient of di Tito (Auckland Opera Studio); title Future engagements include the the Acclaim Award Italian Opera role: (New Zealand School title role in Stanford’s The Travelling Fellowship for an Italian study tour, of Music). Companion for New Sussex Opera, and began his ongoing tutelage with A Heine Liederkreis at Oxford Lieder, Italian bass Paolo Pecchioli. In 2018 he A 2010/2011 PwC Dame Malvina recitals for Leeds Lieder, the Lied makes his New Zealand Opera debut Major Emerging Artist with New Festival Victoria de los Ángeles (LIFE as Colline in La bohème, covers the Zealand Opera and the 2015 Dame Victoria) and the London Song Festival, role of Walter Furst in Victorian Opera’s Malvina Major Young Artist, Amelia’s Mahler’s Lieder eines fahrenden production of Guillaume Tell, and is a awards include the Napier 2011, Gesellen with the Israel Camerata and finalist for the 2018 Deutsche Opera New Zealand Aria 2010, Wellington touring with James Baillieu for Chamber Award and the Lady Fairfax New York Aria 2009 and Otago Daily Times Music New Zealand. Scholarship with the Opera Foundation Aria 2008. for Young Australians. Julien is supported by the Kiri Te Kanawa Foundation.

17 Benoit / Alcindoro Parpignol Chorus Director Barry Mora Manase Latu (Auckland)

New Zealand bass Barry Proudly supported by Dame Malvina John Rosser Mora was the first recipient of the Major Foundation John trained as a choral conductor Inia Te Wiata Scholarship, and went 2018 Dame Malvina Major Emerging under Professor Peter Godfrey and on to have a career that took him to Artist Manase Latu is a graduate of was a founder member of both the opera houses all over the globe. He The University of Auckland, where he National Youth Choir and the New made his professional debut in New majored in classical Vocal Performance. Zealand Singers. In 1985 he formed Zealand at Valentin in Faust in 1971 Manase is a member of vocal group the chamber choir Viva Voce and and joined the Geksenkirchen City The Shades, Voices NZ Chamber has guest-conducted many other choirs Opera in Germany in 1976 before Choir and also an alumni of Auckland and orchestras. becoming a member of the esteemed Chamber Choir and NZ Youth Choir. Frankfurt City Opera (1980-1987). His Since 1996 he has worked as Chorus extensive opera repertoire includes: Manase is in regular demand as a Director and Associate Conductor Conte di Luna: (Frankfurt, soloist throughout New Zealand for New Zealand Opera, preparing Wellington); Rodrigo: Don Carlos and in 2017, became a member of more than 60 mainstage and concert (Gelsenkirchen, Copenhagen, Aachen); the Freemasons New Zealand Opera operas and conducting four. John was Renato: Ballo in maschera (Frankfurt, Chorus, performing in mainstage Inaugural Chair of the New Zealand Gelsenkirchen, Wellington, Canterbury); seasons of Carmen and Kátya Choral Federation and has been Germont: La traviata (Welsh National Kabanová. In 2018 he has performed appointed Artistic Director of the World Opera, Vancouver, Wellington, the role of Nemorino in New Zealand Symposium on Choral Music, to be Barcelona, Canterbury); Ford: Opera’s Opera in Schools programme, held in Auckland in July 2020. Falstaff (Frankfurt, WNO); title role: as well as understudying the role for the Rigoletto (Gelsenkirchen, Wellington, mainstage season. He also performed Düsseldorf); Marcello: La bohème in Tosca and the role of The Defendant (Frankfurt); Wolfram: Tannhäuser, in Trial by Jury. Manase was a finalist Malatesta: Don Pasquale, Dandini: La in the 2018 Lexus Song Quest. Ceneretola (Gelsenkirken); Donner: Gunther: Der Ring des Nibelungen (, Frankfurt, WNO, Deutsche Oper Berlin, Adelaide); Dr Schön: , Mr Redburn: , The Villians: Tales of Hoffmann, The Doctor: , Kolenatý: The Makropoulos Case (Opera Australia); Schigolch: Wozzeck (Opera Australia, Teatro Colón); Alidoro: La cenerentola (Opera Australia, NZO); Faninal: Der Rosenkavalier (Opera Australia, NZ Festival, WNO); Don Alfonso: Così fan tutte (WNO, Victorian State Opera, Barcelona).

18 FreemasonS New Zealand Opera Chorus

Chorus Director Auckland Wellington

(Wellington) Sopranos Michael Vinten Bernice Austin, Ellen Callister, Lilia Shannon Atkin, Milla Dickens, Clarissa Carpinelli*, Chelsea Dolman*, Jessica Dunn, Celia Falchi, Alexandra Michael’s professional activities Duirs, Fiona Li, Anna Mahon, Elizabeth Gandionco, Lesley Graham, Kate span conducting, teaching, composing Mandeno*, Morag McDowell, Lineham*, Laura Loach, Pasquale and arranging. Christina Orjis, Emma Roxburgh, Orchard, Olivia Sheat Kerry Scurr After studying Music History and Mezzo-Sopranos Composition at Victoria University, mezzo-sopranos Delia Hunt, Lynley Kadesi, Shirley Wellington, Michael completed Rosemarie Brown, Meghan Carppe, Kauter, Linden Loader, Nikki a Masters Degree in Orchestral Victoria Coleman, Wendy Doyle*, Prendergast, Jess Segal, Sheridan Conducting at Cincinnati University’s Dilys Fong, Helen Kim, Mary Williams, Vanessa Withy College – Conservatory of Music, USA. Newman-Pound, Deborah Rogers*, Michael has been the Wellington Claire Scholes, Roseanne Webb Chris Berentson, Mark Bobb, Chorus Director and Associate tenors Patrick Coelho, Declan Cudd*, Theo Conductor for the New Zealand Terry Barry, Taunoa Filimoehala, Moolenaar, Jade Neale, Garth Opera since 1991. He has conducted Andrew Grenon*, Harry Grigg, David Norman, Joshua Pike, Benjamin Priest opera performances for the company, Hwang, Giancarlo Lisi, Chris McRae, including their four national tours David Wallace for which he produced reduced Cochise Avei, Craig Beardsworth, orchestrations. baritones Stuart Coats, Richard Dean, Joe Dragan Atanasov, Samuel Downes, Haddow, Matthew Landreth, Ross Alexander Garvey, Rhys Hingston, Noble, Daniel O’Connor, Kenneth David Holmes, Ben Kubiak, Richard Ryan, Charles Wilson Olney, Samson Setu #, Angus Simmons Children children Clara Archibald, Edward Bann, Charles Adams, Jasmine Ashworth, Rudressh Balamuralikrishna, Jaxson Olivia Lai, Nemo Li, Amelia Lockley, Cook, Zoe Ferguson, Sophie Fulton, Melody Lui-Webster, Jade Maguire, Matilda Goldie, Joshua Kerr, Braith Lukas Maher, Martin Moattar, Osvald Smith, Alexandros Swallow, Krishna Peddinti, Anastasia Puttick, Shanwen Tan, Kyla Villalba Kristen Roxburgh Customs Sergeant/Officer customs sergeant/officer Joe Haddow, Daniel O’Connor Samson Setu #, Ben Kubiak

# Dame Malvina Major Emerging Artist * Freemasons New Zealand Opera Artist

19 Wellington soprano Amelia Berry, who sings the role of Musetta in La bohème, is this year’s

PHOTO: SIMON WATTS Ryman DMMF Mina Foley Scholar.

Amelia graduated with a first-class honours degree from the New Zealand School of Music, followed by three years at the prestigious Manhattan School of Music. Amelia’s most recent role with New Zealand Opera was Cunégonde in Candide. A 2010/2011 PwC Dame Malvina Major Emerging Artist with New Zealand Opera and the 2015 Dame Malvina Major Young Artist, Amelia’s awards include the Napier Aria 2011, New Zealand Aria 2010, Wellington Aria 2009 and Otago Daily Times Aria 2008.

The Ryman DMMF Mina Foley Scholarship is in memory of the New Zealand soprano who died in 2007: Mina In Foley was a hugely promising talent who captivated local audiences in the 1950s and was the first singer trained by Mina’s Memory Auckland teacher Dame Sister Mary Leo, who also taught Dame Malvina Major, Dame Kiri Te Kanawa and Dame . Sadly, Mina was never able to achieve her full potential as a singer due to poor health, but her relatively short career was remarkable nonetheless.

dmmfoundation.org.nz

20 21 Orchestra

Auckland Bass David Garner + Timothy Sutton * Philharmonia Liliya Arefyeva # Orchestra Katherine Hebley You Lee Tak Chun Lai * Music Director James sang-oh Yoo Callum Hall Giordano Bellincampi Steven Logan • Concertmaster Basses Percussion Gordon Hill • Andrew Beer Eric Renick • Annabella Zilber + Jennifer Raven # Associate Concertmaster Evgueny Lanchtchikov # Shane Currey Liu-Yi Retallick Matthias Erdrich Michael Steer Harp Assistant Concertmaster Eric Scholes Ingrid Bauer * Miranda Adams First Violins Melanie Lançon • Banda Artur Grabczewski # Kathryn Moorhead + Mark Bennett Piccolo Elzbieta Grabczewska Piccolo Luca Manghi Rachel Moody Jennifer Seddon-Mori * Melody Lin Ainsley Murray Alexander Shapkin Yanghe Yu Bede Hanley • Stephen Bemelman Lucy Qi Zhang Camille Wells + Matthew Verrill Yuri Cho Percussion Annabelle Swainston ~ Martin Lee * Jess Hix Second Violins Tom Broome Dianna Cochrane • Alexander Bedenko • Guest Musicians Xin (James) Jin + Bridget Miles (Bass ) + Irina Lgotkina – Violin William Hanfling # James Fry (Eb Clarinet) + Jesbery Hartono – Rae Crossley-Croft = John Gluyas – Trombone Sarah Hart James Julian – Clarinet Jocelyn Healy Ingrid Hagan • Milena Parobczy Yang Rachel Guan Ebbett + Ewa Sadag Katherine Walshe Auckland Philharmonia Orchestra Jessica Alloway Ruth Brinkman * receives major funding from

Violas Horns Robert Ashworth • Nicola Baker • David Samuel + Emma Eden * Christine Bowie # Carl Wells # Anne Draffin # Simon Williams # Helen Bevin David Kay Ping Tong Chan Gregory McGarity Huw Dann • Susan Wedde Josh Rogan # Rob Sims

Trombones Douglas Cross •

22 Orchestra Flutes Banda Karen Batten • Wellington Jen Vaughan Piccolo Tjasa Dykes Rebecca Steel Music Director Tim Jenkin Marc Taddei Oboes Merran Cooke • Trumpet Concertmaster Louise Cox Tom Moyer Amalia Hall Calvin Scott Brad Mancer

First Violins Clarinets Percussion Stephanie Rolfe * Mark Cookson • Grant Myhill Olya Curtis Moira Hurst = Jacob Randall Emma Brewerton Chris Turner Helen Weir Rupa Maitra Bassoons Orchestra Wellington receives Vivian Stephens Leni Maeckle • major funding from Emma Colligan Julie Link Karla Norton Claudia Tarrant-Matthews Horns Shadley van Wyk • Second Violins Melanie Simpson Pascale Parenteau • Ivan Clayden Konstanze Artmann * Erica Challis Hye-Won Kim Elena Trumpets Oscar Bullock Barrett Hocking • Linden Barton Matthew Stein Ann White Sarah Marten Peter Maunder • Mark Davey Linda Simmons • Julian Kirgan Chris van der Zee * Jon Harker Susan Fullerton-Smith Timpani Elyse Dalabakis Ben Fullbrook • Alison Eldredge David Pucher Percussion Jeremy Fitzsimons • Cellos Hannah Neman Brenton Veitch • Naoto Segawa Jane Young • Jane Dalley Harp Geoffrey Heath Madeleine Crump • Imogen Granwal Jane Brown • Section Principal = Section Leader Emeritus Double Basses * Principal Paul Altomari • + Associate Principal Jessica Reese * # Sub-Principal Steve Gibbs ~ APO Orchestral Fellow Jandee Song

23 Foundation Bequestors 23 anonymous, The Les & Sonia Andrews Cultural Safeguarding the future Foundation, Garry F Bell, The Peggy Hutchings Estate, Athol Mann, Donald Trott, Belinda Vernon, Glenda West, Dr Rosi Horrocks, Whanganui Regional Opera, Roger Beaumont, Tim & Lorraine Olphert, of opera in New Zealand John & Margaret Hunn, Estate of Shona Spencer+, Eric Johnston & Alison Buchanan.

New Zealand Opera has a reputation for over time have acquired unique knowledge and Trustees of the New Zealand producing world class opera and the country expertise to advise existing and potential donors. Opera Foundation has produced a great number of world class The Foundation has been set up to respect Sir David Gascoigne KNZM CBE, Chair, Bill Falconer opera singers, many of whom have made a any donor or bequestor’s wishes through which CNZM, Margaret Hunn, Mark Horton, John Harvey, big impression on the stages of national and donors or bequestors can be specific about Suzanne Snively ONZM, Jenny Loosley, John Meads, international opera houses. This could not have their level and area of support and particular Paul McLaren, Adam Ross QC, Donald Trott ONZM happened without the generous support from advice can be given on how to contribute to the JP. Administrator: Thérèse Kelly. Accountant: trusts and individuals that New Zealand Opera Foundation, including the provision of suitable Ruth Middleton Limited (a registered charitable organisation) wording to be used with a codicil to your will. has received and that talented singers have had to rely on to help develop their careers As the only national Opera Foundation in New Zealand, we would like to encourage you to be and become highly respected professionals. Members of the Foundation part of this ongoing support for New Zealand Members are people who have given meritorious It was for this reason that the New Zealand Opera Limited and our aspiring young opera service to opera through governance and Opera Foundation Trust was set up in 2003 as singers to make sure that opera continues to management and who have been nominated by the a registered charitable trust to take a leading, develop and thrive, through your legacy, in the trustees national role in attracting funds through which hearts and minds of our dedicated audiences it can ensure the future of professional opera and our young aspiring singers and artists Sally Abernethy, Gregory Aim+, Jonathan Alver, Scott in New Zealand and assist selected young involved in the creation of opera. Ashton, Peter Averi, David Bigio, Lew Brown, Graham opera talent to achieve their ambition. Beattie, Alison Buchanan, Bruce Carson, Clare For additional information, assistance or Castle, Don Christiansen, Robin Congreve, Stephen The Foundation is a completely independent specific advice related to your individual Dee, Susie des Tombe, Christopher Doig+, Graeme and secure, dedicated fund manager for gifts, circumstances, please contact Donald Trott Edwards, Chanelle Farmer, Kim Fisher, Creena trusts and legacies from a wide variety of on 0274 587 411 or 06 345 5866, Gibbons, Dame Jenny Gibbs DNZM, Angela Gorton people who have a specific passion for and PO Box 7268, Mid City Whanganui, email JP, Mark Horton, Patricia Hurley, Eric Johnston, interest in opera and who want to invest in the bequest nzoperafoundation.co.nz, @ Harvey Kerr+, David Lewis, Sandra Lawrence +, future of opera in New Zealand by supporting Jane Clarke on (09) 379 4068, email Barbara Matthews, Tony McElwee, John Morrison+, New Zealand Opera Limited and continuing to jane nzopera.co.nz @ Barbara Moses JP, Matthew Muir, Lorraine Olphert, assist selected young opera talent. Catherine Peters, Maree Reynolds, John Shaw, Sally The Trustees have built long term objectives to Sloman ONZM, The Hon Dame secure the future of opera in New Zealand and ONZ, Joanna Todd, Rosalie Thurston, Graham Upson, Gus van der Roer, James Young, Dame Beverley Wakem DNZM. + In Memoriam

“Making a bequest to the opera company is the least I can do to say Simon O’Neill in New Zealand Opera’s original production of Tosca, proudly sponsored by the thank you for providing me with so

New Zealand Opera Foundation Trust through many happy and exciting hours of bequests from Peggy Hutchings and Les and Sonia Andrews estates. Photo: Neil Mackenzie opera going.” Garry F Bell

24

Benefactors

We greatly appreciate Gabrielle Tasman Janet Clarke & John Judge Prof A & Mrs R Thurston* Christina & David Clee* the loyalty and support Noel & Kerrin Vautier* Beverley Cocks Peter Wilson & Gerda McGechan* Alison Cook of our Benefactors. Dorothy Platinum Gary & Julie Craig Inner Circle John & Margaret Cullen* Anonymous 1 Dr Raewyn Dalziel Elizabeth Ball Charitable Trust Sally & Euan Abernethy Stephen & Laura Dee Dame Jenny Gibbs DNZM* Paul & Sheryl Baines Lizzie de Lambert Friedlander Foundation* Celia Barker Allison & Victor Diem Proudly supporting Wyn Davies, Ros & Philip Burdon Prof Ivan Donaldson CNZM Director of Music Richard & Kate Burtt & Mrs Chris Donaldson Rosslyn Caughey John Dow Bravo Circle Susan Doig Steph Dyhrberg & Murray Bell Cathy Ferguson & Mike During* Melvine Easton John & Margaret Hunn* Sir David Gascoigne The Emery Family The Opera Foundation & Dame Patsy Reddy* Fraser & Barbara Finlayson* Estate of Hilda Godley Michael & Creena Gibbons* Cushla R Fisher Gilbert Glausiuss QSM J & P Fitzpatrick & Patricia Glausiuss David Flacks & Adina Halpern* Aria Circle Grabs Trust Nick Francis & Stephanie van Leuven Cranleigh Harper Barton Cultural Trust Dr John Grigor Helen Gaeta Heartland Trust John & Sue Harvey Beverly Gentles* Simon O’Neill & Carmel Walsh O’Neill David & Janet Mayes Sandra Greenfield* The Farina Thompson Charitable Trust Dr Tom & Mrs Ann Morris* Michael & Jane Hall The Wallace Foundation* The Hon. Dame Judith Potter DNZM* Roger & Jennifer Hamlin* Turnovsky Endowment Trust Geoff & Carol Reed Peter & Joan Hanson* Geoff & Fran Ricketts* William & Lois Manchester D R Harlen Ron L Saunders* Charitable Trust John & Gillian Harman* Peter & Kay Squires Jenny Harper John R & Gilli Sutton* Antonia Hill Dress Circle Margaret Trotter Prof Les & The Late Dr Patricia Garry F Bell* Holborow* Circle 100 Gold Felicity Holland Clyde Graham Charitable Trust John & Annabel Holland Sir Roderick & Gillian, Lady Deane* Anonymous 6 Dr Rosi Horrocks* & Simon Rutherford Alfons & Susie des Tombe* Dr M & V Abernethy Don & Janine Hunn Bill & Olive Falconer* Brent Anderson & Rae Mazengarb Mr Jeremy Johnson & Mr Kim Francis Chanelle & Dean Farmer Jeff & Di Annan Robert Johnston & Stella McDonald* Trevor & Jan Farmer* John & Jackie Archibald Niels Jonker & Simon Robb Helen Goodwin* Elizabeth Ashford Philip King Dame Rosie & Mr Michael Horton* Lyn Ashworth Richard Knowles Mrs Beverley McConnell MNZM, Bill & Frances Bell Kaye Lillico QSM* Richard Braae & Andrea Gray Robert & Jenny Loosley* New Zealand Charitable Foundation Je Lan Brash Christine & Paul McLaren* Ms Heather Pascual Virginia Breen Elizabeth McLeay Mr Gary & Mrs Dot Paykel* Briggs Family Matt & Julie Maling Dame Adrienne Stewart DNZM, David Brown Alison Mann QSM, LLD(Hon) Alison Buchanan, Eric Johnston Athol & Ngaire Mann* The Robert & Barbara Stewart Dame Silvia & Peter Cartwright Stuart Maunder Charitable Trust Chris Christensen* John Meads & Anne Marie Moorhead*

26 Dr Cary Mellow* SILVER d’Lainee free Noonan-Brown Don & Deirdre Milne Fay Pankhurst Dr John & Maureen Milne Anonymous 6 Ute Partridge Dr Stella Milsom Jocelyn Afford & Stephen Kós Patricia’s Opera Tours – Patricia Hurley Alison Morton Jane Aim* John & Anne Priestley* Robert & Lynne Morton Richard & Heather Armishaw Peter Pritchard Roger & Barbara Moses* Warren & Margaret Austad Mrs P Reid* Matthew Muir & James Peters* Leslie Austin Mr David & Mrs Yvonne Robinson Denise & Robert Murfitt Hon Margaret Austin Adam Ross Sue Naylor* Graham & Annie Beattie* Adrian & Elizabeth Simcock Irene Norbis David Binning* Sally & Shayle Sloman Peter & Alison O’Brien Eric & Pamela Bloomfield Adrienne & Don Staples Tim & Lorraine Olphert Bushell Charitable Trust John & Vanessa Stephens* Carolyn Penney Dr Ivan Connell & Ms Margaret Casey Brian Stevenson ONZM Richard & Julia Perry Sally Connolly & Ron Boyce & Pam Stevenson* Sam Perry & Iona Anderson Mr Stuart Cook* Tanglin Consultancy Ltd Barbara & Peter Raudkivi* Fred Davey Susan Taylor Marriott Mrs Rosalind Reece Laurie & Sue Doolan* John Tizard & Mrs Vivian Fraser Elaine Engman Donald Trott* Graham & Lorna Robertson Eric Espiner Ann Trotter John & Anne Roche* John & Deborah Feast Bev & Gus Van de Roer* Dr Sylvia Rosevear Lance Feldwicke Grant & Lynda Walter* David & Dian Ross* Rodger Finlay Stuart Weston Glenn Rush Gerrard & Marti Friedlander* Debbie & Mike Whale Jay Scanlon John & Nora Gabriel Anthony Wright & Selene Manning Heather Simpson Lisa Gallaway Sean Xu Andrew & Jenny Smith Stephen & Margaret Gilbert* Suzanne Snively ONZM Mr Jack Greenfield BRONZE & Ian Fraser OBE Jackie & Graham Guthrie Dr Alastair & Mrs Susan Stokes Mr Timothy Hawley* Our thanks also to all of our Bronze Annika Streefland Robin Hill & Vicki Allpress Hill Benefactors. Kate Stutter & Tim Harding Dr M Hobbs & Mrs A Hobbs Lady Tait* Frances Hollis S L Thompson Mark & Gillian Horton Dr Prue Tobin Melville Killip Judith Trotter Geoff & Elizabeth Lee Belinda Vernon* Francey Lewis Sandra Walsh Caroline & Gerald McGhie Mrs Linda Webb MNZM Alison & Ken McKenzie & Mr Warwick Webb Ian & Jenny McKinnon Gael Webster & Tim Brown Bruce & Sandi McLean* Richard & Elaine Westlake Jim & Eve McMahon Leona Wilson* Mora McNeill Dr John Wright Ann Mallinson David & the late Helen Zwartz John & Elisa Mendzela A & R Mercer Arend Merrie Cheryl Middelkoop Neil & Ruth Middleton * Founding Benefactors Louise & Graham Mountfort Robert & Freda Narev* Richard & Joan Neild*

27 Partners

New Zealand Opera would like to thank the following organisations for their generosity and support.

Government Partners

Chorus Schools Partner Partner

Community Presenting Partners Partners

Artist Partners

Venture Partners

Accommodation Partners

Hospitality Partners

Trusts & Foundations

Supporters collective | Moffatt’s Flower Company | Comber and Comber | ProVision Technologies St Margaret’s College | Hoekstra

28 2019 Season on sale 19 October

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